The Musee Imaginaire is a series of artworks applied directly onto the pages of Andre Malraux’s 1952 publication ‘Le musée imaginaire de la sculpture mondiale’, which challenges the idea of the museum as the ‘home’ of any work of art. Andre Malraux’s work was meant to serve as a compilation of sculpture from all around the world but James’ artistic intervention challenges the dominant notions of museum collections and highlights the use of editing as a creative process. It comments on the consumption of art in the digital age as well the notion of reproduction within art history.